What I found especially gripping about Christopher Nolan’s latest film, a retelling of the Miracle at Dunkirk, was that each of the individual people in the story were not the main character. That role was filled by the seemingly indomitable human spirit, and will to survive and struggle ever onwards. Dunkirk might well be one of the most defining moments of the Twentieth Century for Britain, and quite possibly as well a crucial turning point for the whole world.
The film follows three main groups: the soldiers on the beaches, the sailors both civil and naval crossing the Channel, and the RAF in the air trying to keep the fighters and bombers of the Luftwaffe from wrecking further havoc to the men stuck at Dunkirk and the ships trying to ferry them to the safety of home, a mere 26 miles away. Though the plot is not in itself chronological, it nevertheless helps tie together each disparate group, connecting their experiences in a spiritual fashion as each come ever closer to the film’s climax.
For British and Commonwealth viewers this film will certainly reinforce that Dunkirk Spirit, that steely determination that even in the darkest of hours Britain and her sister countries will never surrender. I became quite emotional when, after witnessing the sense of doom the soldiers on the shore felt for a good hour, the hodgepodged fleet of little ships arrived in the waters off of Dunkirk. This moment, though one of the darkest hours in British history is also equally one of the most inspiring to have transpired in that island nation’s long story.
For American viewers this film should give us pause. In our present hour of immense internal divisions, of political unrest and civil discontent we should consider what it would mean for us as one people to come together for a cause we all knew to be necessary for the continued survival of our country and the liberty it’s Constitution assures. In this hour of great uncertainty we should be looking not to what divides us but what can unite us.
Hans Zimmer’s score is a welcome change from his usual set of loud brass, excessive strings, and choirs primarily singing “Ah” for far too many measures. While loud, this score adds to the energy of the film, and in a musical sense is largely understated. The music helps bring the viewer into the picture, onto the beach, aboard the small boats and naval ships, and in the cockpits of the Spitfires high above in the air. I really appreciated the echoes of Elgar’s Nimrod that played over the final scene as Britain and her forces came to rest aground again and prepare for the inevitable Battle of Britain to come.
Overall, I thoroughly enjoyed this film, and just a few minutes prior to sitting down to write this review I told my writing partner Noel that I have to go back and see this again soon. Dunkirk is a film that triggers both the conscious and sub-conscious, that calls upon one’s entire emotional and physical self. It is one of a number of films that are to me the new “talkies”; they address not only our visual and aural senses, but our emotional senses as well. I have a feeling there will be many more films like Dunkirk to come.